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In addition to the zip files linked below, mahlzeit has added a feature to his program that creates an online streaming player. Just click on the link to hear all the recital pieces without having to download the zip files:

For the convenience of forum members, mahlzeit's program has normalized the files for consistent volume and standardized the ID3 tags in a collection of zip files. This makes it easier to create personal CDs and playlists.

Let me express my greatest thanks to five very special people: mr_super-hunky for coming up with the idea of our online recitals, which have proven to be more successful than any of us ever dreamed; Bob Muir for working out the technical details of pulling together the recital and doing so tirelessly for the first six, count 'em, six, recitals; LaValse for hosting the zip files and recital software on his server; Copper for also hosting the zip files and trouble-shooting help; and last but not least, mahlzeit for writing the absolutely fantastic web-based recital program that we are using. THANK YOU MAHLZEIT!!!

After uploading this piece I did realize I wasn't playing the ending exactly according to the sheet music but it still sounds OK and I'm not about to lose out on my #1 spot to replace my recording. The youtube video link has the "proper" ending so feel free to watch that to hear it.

This is a jazz standard written by pianist Walter Gross, and popularized by singers like Rosemary Clooney, Nat King Cole, and Sarah Vaughan. It was originally written as a waltz, but I am playing it in 4/4 time, as is often done. I've always thought of this as a fascinating song, especially because of the way the melody line weaves in and out of the notes of the complex chords (e.g., #11th and 13th chords).

Confidências is a charming Waltz by Brazilian composer Ernesto Nazareth (1863-1934). The first section, in a-minor really does sound like somebody whispering "confidences", or even "insinuations" to a friend. The second section is in typical classical European Waltz form.After the a-minor section is repeated, we get to the 3rd section, in A-major. It sounds like it's in 4/4 time, but it is actually still in Waltz time, 3/4.The waltz ends quietly with a repeat of the first section.My Brazilian friend tells me that when playing Brazilian music, you must let your heart guide the rhythm of the piece and add as much rubato as you like.So I did.

It is easy to let the tempo of this piece run away from you. Although I am not a huge fan of the Baroque period nor Bach, I find that the inventions I have learned so far have really helped my very weak and non-existent left hand improve.

Soldiers' March was the first tune I learned and was my backup piece in case I couldn't get my current piece 12 Easy Pieces, No.2 ready in time. They are both short pieces so I decided to submit them as a medley. Played from memory.

I almost played this at my teacher's year-end recital twenty years ago. I think I ended up playing some Jarre on synthesizer instead. You guys and gals get to listen to all six and a half minutes of it (errors and all). I unfortunately had to stop and start at about the 1:50 mark (removed a bit) because my cat totally wiped out my concentration at that point.

Apparently, the 1er Prélude du Nazaréen, and it's brother the 2er were composed in 1892 as incidental music for a chivalric play. I'm still working on the 2er one and it's quite a bit more harmonically challenging, but then I'll have all four of the Quatre Préludes under my belt. You can find a recording of Prélude d'Eginhard on my home page. This work is from the pre-schola (enrollment in the Schola Cantorum to study again) time period of his compositions (other compositions from this period include the more well known Gymnopedies and Gnossiennes, you can find my recordings of the Gnossiennes on my home page as well.

Outside of that, I know very little about this work. It's one of those Satie pieces with no bar lines, no time signature and outside of "Assez lent" above the staff and "p lie et expressif" at the start there are no indications of how one should play it. I've only heard one recording of it and -- in my opinion -- it was too fast and felt sharp. Hopefully I did this justice and hopefully those who know the piece can help me out with its interpretation.

While many may find the piece rather dull and uninteresting, I find the harmonies subtle and love the cadence patterns marking the piece sections. Maybe it is my pipe organ background (I started with organ lessons first for eight years or so) that adds to my love of the Quatre Préludes.

This piece along with "Lettre a ma mere" are the most descriptive pieces by Sennerville. When I heard it the first time without knowing the title, I could imagine myself on a boat ride, going sightseeing in a city. I also like the eastern flair of the piece. I hope you guys like it too.

This is a simple but beautiful piece originally performed by Barbara Higbie. I was too cheap to buy the compilation book as there is no sheet music available for this piece so I played it by ear instead.

I play bass occasionally with some bluegrass musicians and one of my favorite songs we play is “Tear My Stillhouse Down” by Gillian Welch. I had not tried it on piano before (mostly because it’s in D, not one of my best blues keys) but I transcribed it to F and it works for me. I changed a few chords too, playing a b-flat minor rather than major for instance. I also made it a little blues-ier. No one could do this better than Gillian but I have fun playing it.

Lamenting a lifetime of lost loves and lost loved ones. Most affective for me while playing is reading the lyrics of Chorus - 1, Refrain - 2 and Chorus - 3.I hope you enjoy.

- English translation by American poet, Rod McKuen -

Chorus - 11. If you go away on this summer day Then you might as well take the sun away; All the birds that flew in the summer sky When our love was new and our hearts were high; When the day was young and the night was long And the moon stood still for the nightbird's song, If you go away, if you go away, if you go away, if you go away.

Refrain - 1 1. But if you stay, I'll make you a day Like no day has been or will be again; We'll sail on the sun, we'll ride on the rain, We'll talk to the trees and worship the wind. Then if you go, I will understand, Leave me just enough love to fill up my hand, If you go away, if you go away, if you go away.

Chorus - 21. If you go away, as I know you will, You must tell the world to stop turning till You return again, if you ever do, For what good is love without loving you? Can I tell you now, as you turn to go, I'll be dying slow till your next hello, If you go away, if you go away, if you go away, if you go away.

Refrain - 2 2. But if you stay, I'll make you a night Like no night has been, or will be again; I'll sail on your smile, I'll ride on your touch, I'll talk to your eyes that I love so much. But if you go, go, I won't cry, Though the good is gone from the word good-bye. If you go away, if you go away, if you go away.

Chorus - 33. If you go away, as I know you must, There'll be nothing left in the world to trust, Just an empty room, full of empty space, Like the empty look I see on your face; I'd have been your shadow if I thought it might Have kept me here, by your side; If you go away, if you go away, if you go away . . . please don't go away.

A little less than 9 years, but until 2008, i was never serious about piano and i never practised a lot. I had a 2 year break (2006-2008). I started playing piano in 1999, when i was around 8 years old.

The entire set of Visions Fugitives is very colourful. I particularly enjoy this first movement. It combines a melody derived from E phrygian with a variety seventh chords for a very rich effect. I feel that the set in general fulfills the lines that inspired it:

In every fugitive vision I see worlds,Full of the changing play of rainbow hues.(Konstantin Dmitreyovich Balmont)

This is one of the three pieces in Schumann's collection "Album für die Jugend" (Album for the Young, op. 68) which, instead of a title, bear only three small stars *** - and, of course, Schumann's instructions. In this case: "Langsam und mit Ausdruck zu spielen" ("To be played slowly and with expression").Robert Schumann's daughter Eugenie recollects in her book "Memories" what her mother Clara answered when asked about the meaning of those three stars: "These, maybe, are the thoughts of parents about their children."

My mental imagery goes in a completely different direction, however - this is the beauty that lies in romantic music: It evokes very personal and unique feelings, images and thoughts.

I learned this piece a while ago and it has become a part of my repertoire. It keeps changing and growing all the time. This recording dates from today (May 3rd), but I am curious what my playing of the piece will sound like in five years from now :-)

One take wonder. A few misses, but I wanted to apply the pressure. On 5/15, I'm playing the prelude music for the recital at our studio and this is my finale piece for that. I think its the first time I've submitted anything over a minute and a half!

This is a flowing piece and I never made it through without a few glitches - that's why I'm a beginner! I'm still working on left hand dynamics and appreciate the constructive criticism I received from the last recital and tried to incorporate into my playing. Thanks for any comments or advice on this one, too!